http://www.ianmergard.com/?p=3081758041#comment-55
http://robeywankenobe.wordpress.com/2011/04/05/drugs-can-be-fun-but-they-sure-make-you-dumb/#comment-38
Monday, May 2, 2011
Jane, Part 2
Jane Part 2
In the first post, I discussed how issues of accessibility, affordability, and education as a “basic need” were impacting Jane’s students; the huge amount of time spent in transit on the way to school and other challenges linked to education in rural settings seemed of critically importance. But the new information that many of Jane’s students are not “physically developed” forces us to consider some other serious issues that may be causing ill health, like poverty, malnutrition, family problems, stress, drug use and physical abuse. Reasons for the high rates of ill health that Jane is observing have been described as “a mix of economic, physical, social, environmental and sociocultural factors. The experience of these factors is increasingly shown to have psychosocial repercussions and to mediate how different groups define health and subsequently engage in health-promoting behaviours. (Dixon and Welch, 259).” Other research has shown that for rural adolescents, “structural disadvantage in rural areas (limited educational, employment opportunities, and recreational facilities) impact adversely on health outcomes, particularly mental health outcomes, and contribute to risk-taking behaviour” (Quine et al, online). So whatever the specific causes of their ill health, simply by virtue of being rural adolescents, they are not well-positioned to get the help they need.
What will students want and need from me? Profound health issues may be well outside the scope of what a teacher expects to address. But Jane can do a lot to promote her students’ well-being: she can talk to them, build rapport and gain trust, and advocate for them whenever possible. She has duty of care for her students, and in legal terms, might be held responsible if they were injured or very unwell and she didn’t report her observations. In ethical terms, she may be one of a very few concerned adults in her students’ lives, and her care and attention are hugely valuable. She might try approaching her teaching in a non-interventionist model, focusing on her students’ basic needs for belonging, power, freedom and fun (Krause, 465). If they trust her and feel supported in her classroom, they may experience more enjoyment and reduced stress, and have a clear friend and ally in the event that they need to seek adult support in dealing with a specific health concern.
Even children in basically good health who live in functional and supportive situations, but who have to travel great distances to get to school may not have time to eat healthy meals and get plenty of sleep and exercise; and their geographical isolation may make it more difficult for them to integrate with their peers in town, which can cause stress and social discomfort for them, as we see in Jane’s observation that some students find it difficult to “mix with the kids from town.”
Another thing Jane should consider is what cultural values she can do better to honor in her classroom. What are the cultural backgrounds of her students? What kind of learning is valued in those cultures? How might her worldview and understanding of intelligence be different from theirs? If she’s working with Indigenous students, it’s likely that schools have had a problematic relationship with communities in her region for a long time, and continue systematically to exclude Indigenous language and culture from curriculum: “Apart from some notable exceptions, most government schools in Australia provide a Western model of education. They follow a Western calendar, celebrate Christian holidays and provide education that reinforces Western culture and ways of learning” (HREOC, 70). Jane may have to think way outside the box of her experience and existing pedagogy; by learning more about where her students are coming from culturally, she might be able to align her teaching more with what they want to learn and how they want to learn it. If she can find the energy, despite her fatigue and low morale, it would actually a great opportunity to learn and expand her understanding of her students, herself and her world while becoming a better teacher.
References:
Bourke, L. et al (2004): Developing a conceptual understanding of rural health practice. School of Rural Health, University of Melbourne, Shepparton, Australia
Aust. J. Rural Health (2004) 12, 181–186
Quine S et al (2003): Health and access issues among Australian adolescents: a rural-urban comparison. In The International Electronic Journal of Rural and Remote Health Research, Education, Practice and Policy.
Dixon, J. and Welch, N. (2000): RESEARCHING THE RURAL–METROPOLITAN HEALTH DIFFERENTIAL USING THE ‘SOCIAL DETERMINANTS OF HEALTH.’
Aust. J. Rural Health (2000) 8, 254–260
Accessed 10-4-2011 at: http://www.haliburtoncooperative.on.ca/literature/pdf/H-681_Rural%96Metropolitan_Health_Differential.pdf
Boyd, CP et al. (2005): Issues in rural adolescent mental health in Australia
Pedagogy, Culture & Society Vol. 17, No. 3, October 2009, 251–264
Sunday, May 1, 2011
Research Critique
In spite of National Curriculum mandates to integrate ICT’s across all KLA subjects, they have been slow to appear in Drama classrooms. Flintoff and other researchers have shown that Drama teachers are reluctant to incorporate ICT’s for a variety of reasons, including lack of training and skills in relevant technologies, concerns about accessibility to and reliability of materials and to some extent, a sense of an intrinsic incompatibility between ICTs and the practice of theatre. However, some rich digital technologies have been developed specifically for the Drama classroom that use fundamental elements of theatre and further, may expand what Drama can be and do for more students. It is important that Drama teachers be persuaded of the rationales behind using ICT in all classrooms, and encouraged as they adapt to the new technologies, even if progress is slow.
Fewer than half of the Drama teachers in Flintoff’s sample used ICT at all in their classrooms (Flintoff, 93); his initial proposition “that they do not value the introduction of such Technologies” (Flintoff, 16) was generally supported. Even Drama teachers who believe that ICTs are beneficial may not feel it’s their job to teach them, or may not know how. Meanwhile, students live in an increasingly digital world, which many of them are eager to participate in. As Anderson points out, “The irony apparent here is that while some teachers are unconvinced or resistant to the integration of ICT and drama, their students are engaging and consuming technology in ever increasing numbers. Much of this participation or immersion is actually in the very activities that take place in a performing arts classroom (e.g., role-based games)” (Anderson, 121).
The kinship between role-based games in digital and live settings is not automatic. Some efforts to find links between what kids like to do online and what we want them to do in the classroom seem contrived and tedious. To the extent that drama is the study of human interaction, it should largely take place in a context that allows vocal and physical communication. However, there is a lot of work going into using technology, including games, in education; it’s likely that it will offer some excellent learning opportunities to support Drama education. It is critical that digital content be of a high standard for quality teaching to be possible.
Access and reliability are major challenges, particularly in rural settings, where unreliable networks and limited resources and technical support are common obstacles. There is some cause for concern that as the use of technology expands where it exists, those who live where it doesn’t will be drastically marginalized. Even those with some access to technology may feel behind the curve: many teachers in Flintoff’s sample expressed strong concern about technology that doesn’t work the way it should, and their lack of skills to use it. Clearly, for ICTs to be practical in any classroom, these conditions are not ideal.
The conceit that ICTs and Drama are incongruous is tempting if you’re a teacher resistant to professional development--but they may not be such strange bedfellows after all: ICTs are widely integrated in professional theatre and in Drama classrooms. Multi-media theatre pieces like those famously developed by the Wooster Group in New York beginning in the 1970’s commonly integrate live performance with video; Melbourne’s Arena Theatre Company recently produced a show for young audiences using cameras, projectors and a “motion-tracking system” that linked the actors’ movements with sound and light effects (Anderson, 124). Camera, lighting and sound technologies are commonly used in classrooms. It may not be a huge leap for Drama teachers to meet ICT curriculum requirements. Ensuring digital literacy outcomes may sometimes be a case of making small tweaks to ensure that ICT content is explicit. Many teachers probably know more than they think they do, and may find that they’re able meaningfully to engage with ICTs without having to make time for a training program or sacrifice the quality pedagogy they already practice. In fact, some of the core outcomes of ICT education--collaboration, research, and experiential learning--are native to the practice of theatre.
Some applications of technology and digital resources can be easily connected to classic fundamentals of Drama education. In particular, CD-ROMs like the one described by Readman and Wise in “Aesthetic Pedagogy and Digital Resource Design” are rich and intellectually rigorous. Describing the online components of a Drama course, Nicholls and Philip observe technology enhancing collaboration, an integral theatre component: “In practical subjects like drama, team work is essential…This is incorporated into practical acting and theatre making tasks within the unit…due to the design of the online assessment task students could not avoid working collaboratively. In effect, students now work collaboratively in both the practical sessions and in the theoretical, written domain” (Nicholls and Philip, online). This technology is genuinely enriching the course content, and one imagines the opposite is also true; students engaging with technology in contexts they enjoy and understand will grasp the digital material better. Drama teachers might also like to approach ICTs in the industry by taking students to see professional productions. The Major Performing Arts Companies advised ACARA in 2010, “through a range of productions, interactive activities and workshops, pre and post show forums, and other interactions (live and on-line), the MPA theatre companies provide students with…access to the creative processes of this country’s finest artists” (MPA companies, online).
Drama teachers are required to incorporate ICTs, but we’re frustrated because we don’t know how. We’re afraid of technology being prioritized over the more traditional knowledge and skills we value so highly. ICTs seem to run counter to what we’re teaching in Drama--concentration, listening, attention on another person, and so on. If we’re to get on board with this and meet National Curriculum standards for ICT literacy outcomes, Drama teachers need support. Professional development is needed to expand our understanding of what ICTs can do and boost skills, confidence and enthusiasm.
There are many ways to practice and teach theatre. Focusing on equity will help bring ICTs to Drama classrooms by galvanizing many teachers who are unconvinced. ICTs help more students participate on their own terms; by using them, we are valuing democracy and access in our classrooms. Students must be active agents in their own learning, not passive observers. Augusto Boal wrote,
The poetics of the oppressed is essentially the poetics of liberation: the spectator no longer delegates power to the characters either to think or to act in his place. The spectator frees himself; he thinks and acts for himself! …Perhaps the theater is not revolutionary in itself; but have no doubts, it is a rehearsal of revolution. (Boal, 155)
If revolution isn’t inspiring, “arts teachers have a central role in preparing young people for a post-modern marketplace. Employment has changed significantly in recent years, with business calling for employees who are ‘flexible, ‘creative’, ‘innovative’ ‘transformational’ ‘team players’ and ‘life long learners” (Readman and Wise, 90). We have an ethical responsibility to train kids for a quality life, a duty of care to help them navigate the digital world safely and develop skills to participate meaningfully in the world—where better to learn these subtle and enormously valuable communication skills than Drama?
References:
Flintoff, K. (2005) Drama and Technology: Teacher Attitudes and Perceptions. Master of Education Thesis, Edith Cowan University.
Accessed 18-4-2011 at :
Anderson, Michael. New Stages: Challenges for Teaching the Aesthetics of Drama
Online. In The Journal of Aesthetic Education, Volume 39, Number 4, Winter
2005, pp. 119-131
Accessed 18 April 2011
Major Performing Arts Education Network, 2010.
Accessed on 18-4-2011 at:
Readman, K. and Wise, J. (2004). Aesthetic pedagogy and digital resource design: some considerations. In Change: Transformations in Education. Volume 7.2, November 2004
Accessed 18-4-2011
Nicholls, J. and Philip, R. (200). Drama Online. In Australian Journal of Educational Technology 2001, 17(2), 150-168.
Retrieved 18-4-11 at:
Boal, A. (1974). Theatre of the Oppressed. New York: Theatre Communications Group.
Monday, April 25, 2011
Lesson Plans Rock. No, really.
The first lesson plan I wrote for this prac took me at least three hours, which seems crazy for one class. But it’s going faster now, and feedback from my mentor teacher has been encouraging. I guess I’m sort of an intuitive thinker, not used to organizing my thoughts quite in the way that you have to to be able to state learning outcomes, resources, timing of activities, etc. At first it was really hard for me to translate what I wanted to do in a class into that kind of lovely, clean PLAN. I like the thrill of the unknown--but there’s enough of that in teaching even with the most solid lesson plan ever. Ironically, having a plan virtually set in stone makes me feel ready for anything.
STS is Rad.
I loved STS during the weeks when I had started my prac early--and not just for Kerrie's jokes or the drinks at the Lighthouse afterwards! Walking into a school every day felt like going down the rabbit hole—totally fascinating and engrossing; meanwhile back at UC, I was missing classes and totally out of the loop. So staying connected with my classmates and the Grad Dip course was hugely helpful. I heard some people saying they were nervous about planning for their pracs and dealing with the quirks and challenges of their schools. I realized I would absolutely have let my nervous energy run wild and freaked myself out; but because of my schedule variation, I simply hadn’t had time for that. The whole thing just took off like a shot and...ha! I enjoyed it. I hope I can remember that heading into the next prac, relief teaching in one new place after another, starting a new job, etc. Panic won’t help. Prepare, relax and do your best.
Monday, April 18, 2011
ICT's: Theatre Revolution in the Drama classroom?
AESTHETIC PEDAGOGY AND DIGITAL RESOURCE DESIGN
By Kylie Readman and Josephine Wise
This article discusses the “the design of the CD-ROM “Physical Theatre, Performance and Pretext” developed for Drama Queensland in 2004” (Readman and Wise, 89); in this case, drama teachers participated in the development of digital teaching material. The authors assert that when teachers and students are involved in designing ICTs for use in the classroom, the benefits are “more fully realized” (89) It’s interesting that this should even have to be said: who normally designs arts-teaching resources?
I found the specifics of the CD-ROM quite interesting and was persuaded that it’s a tool I could certainly use, but the authors discuss some other very compelling background issues around aesthetics and social interaction that I’m responding to here.
Readman and Wise point out that, “many instructional designers consider virtual space as performative” (Readman and Wise, 92). It’s hard to ignore the obvious connection here to Drama. To what extent are we performing in every digital context that requires us to say something about who we are? When we post pictures and status updates on Facebook, aren’t we performing a role--enacting a version of ourselves over which we have a greater degree of control than the self that others can see, hear, smell, etc? Of course, real life is also performative. We have many selves—public, private, partner, professional, friend, daughter, parent, etc, and we play all our parts, some better than others. So digital environments are certainly not the only performative environments in our lives, but they may be especially liberated ones. The potential, then, is for inhabitants of digital environments to make their own rules for those environments, which is obviously empowering.
Repeated references to Augusto Boal, the remarkable Brazilian theatre teacher, author of Theatre of the Oppressed and great figure of political theatre so essentially democratic that performers and spectators are the same people (“spect-actors,” cited in Readman and Wise, p. 94), effectively link discourses of Drama with the subversive/ democratic potential of ICT’s: if ICT’s help students have greater agency in determining how they participate and on what terms, the benefits are profound. Referring to Boal is a great way to get the attention of even the most skeptical Drama teachers out there. If it's about democracy and access, we want it.
Reference:
Readman, K. and Wise, J. (2004). Aesthetic pedagogy and digital resource design: some considerations. In Change: Transformations in Education. Volume 7.2, November 2004
Accessed 18-4-2011
Drama Teacher ICT Survey
DRAMA AND TECHNOLOGY: TEACHER ATTITUDES AND PERCEPTIONS
BY KIM FLINTOFF
B.A. (Theatre and Drama), Grad Dip Ed (Secondary Drama)
A Thesis Submitted in Partial Fulfillment of the Requirements for the Award
MASTER OF EDUCATION
At the School of Education, Edith Cowan University 2005
BY KIM FLINTOFF
B.A. (Theatre and Drama), Grad Dip Ed (Secondary Drama)
A Thesis Submitted in Partial Fulfillment of the Requirements for the Award
MASTER OF EDUCATION
At the School of Education, Edith Cowan University 2005
The author believes that there is “a changing paradigm in Drama education” (Flintoff, 11) and Drama teachers are reluctant and/ or unprepared to incorporate ICT in their classrooms. In this study, he surveyed drama teachers in an attempt to gather feedback that would describe their attitudes toward ICT. None of his respondents were staunchly opposed to ICT in general, but were “reserving judgment” (Flintoff, 92) until they understood the issues better or evidence was clearer; under half of the respondents were using any ICT in their classrooms (Flintofff, 93). Among many concerns, access to technology and insufficient training or knowledge were identified. I identify quite strongly with this population, and I wonder how much just the act of discussing their attitudes for this study prompted these teachers to reflect on them, as reading the report has prompted me to do.
Flintoff points out that this study does not attempt to say whether ICT should be taught in Drama classrooms; in fact he acknowledges that “there may be equally valid arguments suggesting that technology may be anathema to Drama education, indeed it may even prove to undermine the very nature of Drama education” (Flintoff 15).
The author sees new possibilities with the use of ICT in drama classrooms: “To begin with, physical laws need not apply, bodies and voices are optional, gender is not fixed, and space becomes one of the elements we construct rather than simply that in which we work. This is one sure way to extend and diversify the scope of Arts, and specifically Drama, practice” (Flintoff, 12). I would argue that everything in this statement is essentially true of the imaginative “space” of theatre with or without ICT. Drama is all about these conceptual leaps, and I’m not persuaded that our imaginations are any more free in a digital context. Suspension of disbelief has worked like a charm for millenia; we like to be told stories, and we know they’re not exactly real, but we want to be told them anyway. Gender has never been “fixed,” bodies and voices can change miraculously in performance, and the literal and figurative construction of “space” in theatre is nothing new either.
Flintoff engages briefly with this question of space, asking rehetorically, “What happens to drama when it is removed from the physical and temporal – does Drama still happen if it can somehow occur independent of the here and now?” (Flintoff, 32) For me, it’s an essential question we must try to answer. The ephemeral, here-and-now quality of theatre cannot be replicated, approximated or simulated. There may be other, wonderfully teachable kinds of drama than live theatre, but it’s still the original human experience of storytelling, and in the end, much less esoteric and specialized than anything that requires the use of tools.
He offers a lengthy list of ways in which computers can be used before, during, after, and in the drama (Flintoff, 28), e.g., to research, to write script material, to practice role-play in games, etc. I imagine this list might be very useful for someone like me, with a pretty skeptical position on ICT in Drama classrooms, based on some knowledge of the subject and a lot of ignorance about the technology. Maybe I’ll find something I can really use, and improve my outlook. It’s clear that having a bad attitude about it isn’t good pedagogy.
Reference:
Flintoff, K. (2005) Drama and Technology: Teacher Attitudes and Perceptions. Master of Education Thesis, Edith Cowan University.
Accessed 18-4-2011 at :
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